Variety (Mar 1939)

14 VAJtlETr FILM REVIEWS Wiedpesd^^, Bfarcli 29, 1939 WUTHERING HEIGHTS Hollywood, Uarch 25. Unlttd Artlats relcan of Samaal Ooldwyn VroducUon. Co>sUn Uerle Olxroii, Lau- nnc* Olivier, David NWen. Directed by William Wyler. ScKenpUy by Ben Hecht and Charlea MacAithar. From novel by Smlly Brcnte. Art direction, Jamea Basevl; camera, Ortet Toland; editor, Daniel Mandell: aast. director. Walter Uayo. Previewed at Wamera Hollywood March 24. '30. Running time: lOS &IM& Cathy Merle Oberon Ueathcllff Laurence Olivier Edgar David Nlven Ellen Dean Flora Robson Dr. Kenneth Donald Crlan Isabella Oenildlnc Fitzgerald Hlndley '..Hugh AVlTllama Joaeph Leo O. Carroll Judge Linton Cecil Humphreya LiOckwood Milea Maniler Robert Romnlne Callendcr Eamahaw Cecil Kellaway HeathcllK (a^ a child) Rex Downing Cnlhy (aa a chllil) Sarlta Wootoa Hlndley (na a child) Douglna Scott HarpslchorJIst Mme, Alice Ehlera "Wuthering Heights* will have to depend on class audiences. Its gen- eral soir^reness and psychological tragedy is too heavy for general ap- peal. With that setup, and lacking socko marquee dressing, picture is more of an artistic success for the carriage trade. Emily Bronte's novel, published a century ago, tells a haunting tale of love and tragedy. Samuel Goldwyn's film version retains all of the grim drama of the book. Dramatic epi- sodes are vividly etched, without bene&t of lightness. It's heavy fare throughout Merle Oberon has two loves—a pash for stableboy tiaurence Olivier and love of the worldly things which David Niven can provide. After un- successfully goading Olivier to make something of himself, girl turns to marriage with Niven. Olivier dis- annears, to return several years later from America with a moderate for- tune. Miss Oberon keeps her smoul-. dering passions under control, and Olivier marries Niven's sister, Geral- dine Fitzgerald, for spite. Climax is reached with Miss Oberon dying from an incurable disease in OUvler's arms. Stark tragedy is vividly etched throughout. Tempo is at a slow pace, with many sequences devoted to development of psychological re- actions of the characters. It's rather dull material for general audiences. Olivier provides a fine portrayal as the moody, revengeful lover. Miss Oberon is excellent throughout,- nicely tempering her changing moods. Niven handles his role sat- isfactorily, while Miss Fitzgerald is impressive as Niven's sister, who .comes under the spell of OUvler and finds nothing but unbapp'iness in her marriage to him. Story is imlolded through retro- spect narration by- Flora Robson, housekeeper - in the early-Victorian mansion of Yorkshire. .Mter briefly detailing bacliground of three prin- cipals as children, tale swings into the main love theme and tragedy, Production has been 'given best facilities possible in all departments. Camera work by Gregg Inland is top grade, and settings are in keep- ing with period of the story. Direction l>y William Wyler Is slow and deliberate, accenting the tragic features of the piece. Ben Recht and Charles MacArthur wrote the screenplay. ^ Hound of the -Baskervilles stalk its victims in the fog-swept moors. Rathbone gives a most effective characterization of Sherlock Holmes which will.be relished by mystery lovers. Greene, in addition to play- ing the intended victim of the mur- derer, is the romantic interest oppo- site Wendy Barrie. Supporting cast Is meritorious— mostly English players who fit neatly Into individual roles. Group includes Nigel Brace, Lionel AtwlU, John Carradine, Barlowe Borland and Eily Molyon. Chiller mood generated by the characters and sto.ry is heightened by effects secured from sequences in the medieval castle and the dreaded fog- bound moors. Iiow key photography by Peverell Marley adds to suspense in the unfolding. Direction swmgs along at a delib- erate and steady pace, catching every, chance to add to the chiller-mystery tempo. Picture is rounded out nicely from the production end. RISKY BUSINESS Unlveraal production and release. Fea- tures Georgo Murphy and Dorothea Kent. Directed by Arthur Lubln. Original by. WUUam Anthony McGuIt«; screenplay by Charles Grayson; camera.' Stanley Cortez. At Rlalto, K. Y., week March 22, '30. Raa- nlng thno: «7 UINB. Dan Clifford George Murphy Mary Dexter Dorothea Kent De Camo Ednardo Clannelll Hinge Jackson Leon Amea Lucius Bl Brendel District Attorney Richard Tucker Xonna Jameson Frances Robinson Silas John Wrny Capt. Wallace Arthur Tjott Abemathy Pierre Watkin Xorraan Gnmt Richards Jameson ....Charles Trowbridge Mrs. Jameson Mary Forbes Hollywood, March 23. 20lh-Fox release cf Gene Markey produc- tion. Features Richard Greene. Basil Ratnbone, Wendy Barrie. Directed by Sid' ney Lanlleld. Screenplay by Ernest Pas- cal;'from The Hound oC the Bnskervllles' by Sir Arthur Conon Doyle; camera, Pev- erell Marley; editor. Dolierc Slmpnon.- PrC' viewed at Gmuman's Chlnrae .March 22, ■80. Running time: 78 MINH. Sir Henry Basitcrvllle Illchard Greens Sherlock Holmes Basil Rathbone Beryl Stapleion Wendy Barrie Dr. Watson Nigel Bruce Jamca Mortimer, M. D Lionel Atwlll Barryman John Carradine Franhland Burlowe Borland Mra. Jvnirer Klorthner Meryl Mercer John Stapleton '. Morton Lowry Sir Hugo UnskervJIIc Ralpb Forl;es Cab'jy E. E. Cllve Mrs. I3ari-ymfm Elly Malyon Convict N'lgel de Brullcr Mrs. Hudson 4 >lary Gordon Roderick ::... Peter 'Wlllea Sliepher.l Ivan Simpson Sir Charles Isn MacLnren Bruce John Burton Jon Dennis Green Bdwln Evan Thomas Snatch story, with radio gosslper as a flamboyant hero and a sprin- kling of gangsters, stacks up as a healthy programmer suited tor double bills. It will gamer nice business in city spots such as at this theatre, where th^ like tlteir melo- dzama realistic. Absence of marquee names naturally limits its draw, with bumping off of the hero a dif- ferent but imsatistying enxl. It's a remake of Vs 'Okay .America.' 'Risky Business' takes several deft digs, at the business of radio broad- casting- even if it does paint the commentator with the lustre of crusader against gangsterdom. It has the radio gosslper telling off the head of a broadcasting network, lambasting ad agencies and finally dipping a top radio ofiEicial on the chin. That final touch, where two torpedo men slink into a broadcast- ing studio while the gosdper Is about to reveal gang secrets is rather rough. Gosslper is depicted admit- ting on the air that he nas just slain a ruthless gangster leader. Thea he is shot down by the gun-toting mob- sters in a fusimde of bullets. Producers have held close to melo- dramatic traditioii and developed a series of suspenseful scenes for the film's.climax. Here the skill of di- rector -Arthur Lubin is visiltle be- cause it is only Ordinary story de- velopment Scene where the radio narrator flashes an automatic and sends three or four bullets into the menacing gangster chief can only be excused on° the groimds that the mobster had it coming to him. George Murphy is fairly satisfying as the crusading radio coluinnis: who covers Uie cinema capital, even if a bit florid. Dorothea Kent, as bis femme secretary, Med her l>est to inject a bit of romance into the pic- ture, although he bruskly ignores her. The cameramen did not do her justice -with several closeups that only set off the weaker featiues. Ijcon -Ames is the suave ex-gang- ster, suppd£edly reformed, who is a pal of tbd i^dib narrator. Eduardo Ciannelli is satisfactory as the chiisf mobster while John Wray ai chips in' with one of his virile cl acteiizations as down-and-outer helped by the gosslper. El Brendel, veteran screen comic, is good for an important bit and gets his usual quota of chuckles (again as a jani- tor). ' . .f ■ . Charles Grayson's 1639 scripting of William A. McGuire's old original as well as his potent dialog is a slick job. Wear, 'Hound of the Baskervilles' in film form retains all of the suspensefully dramatic ingredients of Conan Doyle's popular adventure of Sher- lock Holmes in the moors of Devon- shire. It's a startling mystery-chiller developed along logical lines without resort to implausible situations and over-theatrics. Picture is a strong programmer, that will find many bookings on top spots of key dualers that attract thriller-mystery patron- age. In the nabes and snudler com- munities it will hit okay b. o. Ex Eloitation on the names of Conan •oyle' and Sherlock Holmes will belD. Story catches on with minimum footage, gaining 'attention imme- diately and holding steady race throughout Doyle's tale ot mynery surroimding the Baskerville castle is a familiar one. When Lionel Atwlll learns that Richard Greene, heir to ' the estate, is marked for death, he calls in Basil Rathbone. Balance Is a well-knit bundle of suspense, - thrills and surprises, moving steadily to ultimate solution of the mystery when Rathbone uncovers the m^ister of the ferocious hoimd trained ib ON nUAL Miniature Reviews <Watheriiir Mtt^W (UA-Gold* Sombre dramatic tragedy, produetlonally fine, but with limited appeal ■Hennd ot the BaikervUleir (20th). Conan Doyle's Sfaierlock Holmes paraded In strong pro- grammer. WiU satisfy generally. <Blsky BnsInMS* (D). Gangster* snatch meller good enough for most dualers. Cieorge Murphy and Dorothea Kent featured. •On Trial' (WB), Trite coiirt- room drama; fodder for the duals. 'Mystery of the White Boom* (U). Weak hospital whodunit for shortage bookings In the duals. of Trent'i Lynn, m; SghUfCht scenes are those In which army bombing testa are made from aojOOO-foot height; and the air battle between tibe two expert fliers. Marjorle Reynolds is vivacious and can carry stronger roles. Work ot Tommy Bupp, as the Idd admirer of barnstorming, counly-falr parachute jumper and pilot (I^nn) Is com- mendable, Luclen Llttlefleld, a& leader of the spy ring; has done much better work before. save his wife's honor. But both the theme and manner of presentation are now dated for 1039 screen pur- poses. 'On Trial' is strictly dual fod- der, talking along for an hour with- out going anywhere. Story concerns :liooting of philan- dering James Stephenson by John Litel to protect his wife, Margaret Lindsay. Litel goes to trial, with Edward Norris, a young and ambi- tious attorney, def^din<!. Testimony is both direct and tlu-ough utilization of cutbacks, with luiss Lindsay and couple's ba^y daughter, Janet Chap- man, testifying to convince jury miurder was justifiable. Acquittal and happy family reunion for the fade- out I^ture falls to generate any de- i^ee of Interest, and punch is lad- ing throughout Cast fails to over- come handicap of material at hand. It's a low bracket negative, for book- ings in the dualers. Mystery of White Room Universal release of Irving Starr produc- tion. Futures Bruce Cabot, Helen Mack. Directed by Otis Garrett. Screenplay, Alex Gottlieb, from story by James G. Edwards; camera, John Boyle; editor, Harry KeUer. At Central, N. T., March 25, 'W, dual. Running time: Sir HINB. Dr. Bob Clayton Brace Cabot Carole Dale Helen Mack Ann Stokes Constance Worth LUa Balntia Joan Woodbury Dora Stanley Mabel Todd Hank Manley Tom Dngan Dr.' Norman Kennedy Roland Drew Dr. Martin .Addison Richards Mack Sponcer Tommy Jackson Dr. Thornton Frank Relcher Tony Frank Poglla Class C whodunit for dualling in the nabes. But even then it 'will need a strong running mate. Will get bruslMfE re'views, negligible word of mouth and is light on marquee 'value. Yam deals 'with an operating-room murder and a flock of dire attempts to. cover up the killer's traos. There's little suspense and the sup- posed denouement has more loose ends than a rag bag. There's not much motivation, logic or characteri- zation to the sboiji while 'the roman- tic angle Is purely routine stuff and the comedy is leaden. In stmi, the picture is merely one ot those spieedy Items without any pretensions to serious consideration. Bruce Cabot and Helen Mack carry the romance as the resourceful yoimg surgeon and wide-eyed niurse. Constance Worth is decorative as another nurse, while Joan 'Woodbury and Ronald Drew do the grimacing to drawsuspidon. Dialog is stilted, so none of them can make it seem lifelike. Direction fails' to clarify the script Hobe. Los -Angeles. March 20. Warner Bros, release ot Bryan Foy pro- duction. Directed by Terry Morse. S<-reen- play by Don Ryan; fro-n play by Elmer Rice. Dialog director, Tel Thomas; asst. director,' Arthur Lcukcr; camera, L. Wil- liam O'Connell; edltor,-JameB Gibbon. Pre- viewed at Forum. March ID, '39. Running time: 60 MINS. Robert Strickland John Utei Mae Strickland Mnrgnret Lindsay Arbuckle Bdward Norrla Doris Strickland Janet Ch.ipman Gerald Traek .Jauies Stephenson Joan Trask N'edda Harrlgan Glorer Larry Williams Gray William Davidson Judge: : Earl Dwire Dr Morgan Gordon Hail Henry Dean Charles Trowbridge Joe Burke Sidney Bracy Mr. Trumbull Kenneth Harlan Mrs. Leeda Vera L,ewls S'^i- >fat Carr Mr. Rummers Stuart Holmes Balllft. Cliff Saum Court^StenoKrapber Jack Mower iiury Foreman John Dllson Mrs. Roaenblstt Lola Cheaney First Reporter Edgar Edwards Second Reporter j«bn Harron Elmer Rice's sensational court- room drama ot three decades ago, in its day, had theatre audiences going, for the theatrics of the piece, which had the husband commit murder to MYSTERY PLANE Monogram release ot Paul Malvern pro- duction. Features John Trent, Mllbum Stone. Marjorle Reyaolda. Directed by George Waggner. Adapted by Paul Scho- fleld and Joaeph West from cartoon atrip. Tallspln Tommy,' by Hal Forrest; cam- era, Arcbia Stout; editor, Carl Plerson. At Strand, Brooklyn, N. T.. week March ' 'SO. dual. Running time: SO UIMS. Tallspln Tommy John Trent Skootor. Mllbum Stone Betty Lou ...Marlorle Reynolda Paul Jason Robards graody J>eter George Lynn Wlnslow Luclen UtUeHeld Anita Polly Ann Toung Fred Sayre Deerlng Cart........... John Peters Tommy (child) Tommy Bnop Hetty Lou (child)......: Betsy Gay Produced along familiar lines of mystery spy mellers, and aided by popularity of Hal Forrest's news- paper comic strip, Tallspln Tommy,' on which yam is based, this pic- ture will do nicely on the sec- ond half of du^ While not pretentiously done, Paul Malvem has thrown together a fair cast of juve- niles to carry the simple story. En- tire picture displays a unity and economy of purpose without any side issues or involved situations to clut- ter up the script John Trent and Milbume Stone, a pair of young aviation enthusiasts invent an improved bombing device for planes and test it-out for army officials. A gang ot international ^ite want the invention. They ab- duct the two aviators and their girl friend, Marjorle Reynolds, and at- tempt to force the formula from them. Army cops track down hiding place of the gang.' Before they can get there, Trent and his pals escape in a plane and are pursued by the vil- lams in a seaplane. Pitched battle in the skies ensues.' Heroism of .the gang's pilot, a former aviation idol Peter George turn out SO THIS IS LONDON (BBtnSH-MADE) London, March 16. aOth Centmr-Fox production and release. Stars Robertson Hare. Alfred Drayton. Di- rected by Thoifiton Freeland. Screenplay, William Conseiman, from Arthur <}ood- rich'a adaptaUon of George M. Cohan's stag* ploy; dialog. Ban Travers: camera. Otto Eantnrek. At Tlvoll, London. Run- ning time: 80 MTSB, liOrd Worthing , Alfred Drayton Henry Honeycutt Robertson. Bare Dodle Ethel Revnell' Lis °. Oracle West Hiram Draper Berton Churchill Mrs. Draper./ .' Lily Cahlll Ellbor Draper.... Carla Iiehmonn Lady Worthing Fay Compton Lawrence Stewart Granger Dr. DereskI George Saiideis Mrs. Honeycutt....; .'.Mavis Clalr Butler Aubrey Mallallen Ijondon' has so many screamingly funny slapstick situations that indi- cations are it wUl be an entertain- ment bonanza in this coimtry. Geoiee M. Cohan's original sta^ comedy has been converted to suit the per- sonalitien of Alfred Draytcn and Robertson Hare, English farceurs, and their craftsmanship is worthy. The characters are good to meet, the dialog is crisp and pungent, di- rec^on is good end ptiotography ex- cellent As a supporting feature in a double -program in America it should prove satisfactory. The very nature of tiie- incidents are certain lauj^-getters. The two central' characters, the English Lord and the American business man, ac- cept misfortune like men — they blame it on their wives. Drayton is the former, played irascibly throug- out, and Berton Churchill the latter, equally irascible. Supporting roles are bandied com- petenuy. There is a very funny scene between two drunks, one ot whom is recognizable as David Bums. Neither is programmed. .An- o&er part well enacted is that of a sleep-walker, by Mavis Clair. Jolo. THE SPY IN BLACiC (BSmsn-HADE) London, March 18. Columbia produoUon and release. Stars Conrad Veldt. Directed by Michael PoweU. Screenplay, Emarlo Frassburger, from story by J. Storer Clonston; scenario. Round Fertwee; camera, Bernard Browne. At Phoenix, London. Ruimlng time: SB HIMB. Captain Hardt Conrad Veldt Aahlngton Sebastian Shaw School Mistress..r. Valerie Hobson Schuster Marlus Goring Anne Burnett. '....June Dupres Rev. Hector Matthews Athola Stewart Mrs. Matthews.. Agnes LaoAlan Mr& Sedley Helen Haye Rev. John Harris Cyril Rsiymond Captain Ratter George Summers Kate Margaret Moffat Commander Denis EenneUi Warrington Submarine Officer Torln Thatcher Admiral Robert Kendall Bob Bratt Grant Sunderland Chauffeuse Mary Morris The Spy in Black' Is a praise- worthy film on international espion- age during the. World War. It should do stellar biz here and is a dual possibility for America. The plot, while necessarily melo- dramatic, is always within the range of possibUity. Conrad 'Veldt, as capr tain ot a German submarine, re- ceives instructions to proceed to the Orkney Islands, where he's to meet a woman spy, from whom he's to. take orders. She instructs him to sink 15 British ships cruising off the coast of Scotland, and contacts him with a discharged traitorous lieuten- ant of the British Navy. The rest deals with Veldt learning , that the two are actually working for Britain, and his futile attempt to frustrate them. The twist whereby it's .developed the lieutenant and the girl are loyal to Britain comes as a surprise. 'Veidt has a strong role for which he's ad- mirably suited. Sebastian Shaw Is excellent as the English naval officer. 'Valerie Hobson, as the other spy, is creditable. Supporting cast is competent DirecUon and photography are ex- ceUent Jolo. Knight of the Plains (WITH SONGS) Spectrum Pictures release Stan Laurel- Jed Buell production. Stars Fred Scott; features Al St. Jobn, Marian Weldon, John Morton. Directed by Sam NewAeld. Story and soeeikplay, Fred Myton; camera. Mack Stangler: editor, Robert Jahna; -songs, Lew Porter, L. Wolfe Gilbert and Harry Tobias. At (>>lanlal, Lincoln, dual. Cast: Fred Scott. Al SL John, Marian Weldon, John Merton. Richard Cramer, Frank LaRue, LaCs McKee, Emma Tau- sey, Steve Clark, Jimmy Aubrey. Shery 12>naey, Bndd Buster. Running time: 61 The poor -old homesteaders - are called into action again, abused, mal- treated, dispossessed and otherwise badly handled, to make Fred Mytoa's original for Fred Scott's 'Knight ot the Plains.' It's one ot the Stan Laurel exec efforts, with Jed Buell I (Continued on page 16) BIZARRE BIZARRE (FRENOH-MADE) Lenau«r Intematlonal Films nlesM et ComlgUon MoUnler produotloo. Featnrea Lonli Jonvst, naaeolse Rosay, lUobel Simon. Dlreoted by Uaicel Came. Boreea- play by Jacques Frevart: from story by J. Store>CIouatoii: oamera, Roger Kahani at Fllmarte, N. 'r,. week Ilaicli 30, 'S«, Running time: 84 IONS. Vloar ot Bedford Iioals Jonvet Margaret Holyneos Fcanooise Rosay Irwin Molyneux (Fallz Chapel) Michel Simoa William Krampa Jean Louis Barraiilt The Milkman Jean Pierre AtmMot Eva Nadlne Vogal Detective Aleover Rt^rter Gnlsol Mrs. McPhearson Jeanne Lory Man In Mourning M. Duhamel (In French, totth English Titles) This is one of Marcel Game's ex- periments with farce comedy and it's deftly directed. Given a script replete with ingenious .quirks and pokes at human failings, a muslo score modesUy but effectively em- ployed to heighten dramatic effect where needed, and a plot that hinges on a pseudo-murder, opus furnishes pleasing entertainment Art thea- tres and foreign language houses will do fair business with this one. Came keeps the whole pot-pourri moving bri^dy. He combines the humor of idiaracter, society and situ- ation in capable fashion and turns out a fine travesty on Scotland Yard crime detection. Picture has a capable cast Michel Simon, chief protagonist of the mixed-up nelange, scores heavily in comedy, and Jean Louis Barrault does equally as well in a farcical interpretation of a homicidal killer. Louis Jouvet, one of the better Imown character actors on the Frendi screen, is impressive as a hypocritical avaricious clergyman, and Francoise Rosay and Nadlne Vogel, as mother and daughter, ably carry romantic leads. The girl's ro- mance is subordinated to develop- ment ot the plot, but with her looks and abUi^ she could have' been, given more footage. Story concerns a bourgeobe famr lly. Ib head, who is a simple soul with a hobby for flowers, makes bis living writing crime stories from tales suppUed by his daughter, who hears ibim from the miurmaw, her lover. A cousin.ot the family, the Vicar of Bedford, inidtes himself to a 'week-end. unfortimately, the Molyneux family's servants have wauced out and Mine. Molyneux turns cook herself. To explain her absence, the husband pretends she is visltmg friends and at the first opportunity deserts his guest In ai spirit of mischief or revenge, the Vicar spreads a report that Moly- neux has killed his wife. Which brings Scotland Yard on the scene and the mlxups. Producer Molinler hasn't stinted anywhere along the line. Settings; photography and production details are artistic and substantial. A Man and His Wife ('Cn Homme ei m Femme') ' (FBENCH-HADE) French Film Exchange release ot R. T. Films production. Stan Harry Baur. Dl« rected hy Jean Drevllle. Story, Roger Fer- dinand; music, Fortere; camera, L. H. BnreL At Little, Caraagle, N. T., week March 27, 'SS. Rmmlng time. t» MINB. Papon • Harry Baur . .'anette.... Suzy Vemoa Molneau... Pierre Laniney Berthe , Christians Dor Marcelle............'. Joasellne Gael Jacques :..Jaci|uea Maury Roland Hardl '..Guy DerleB Du Peeq Robert Clermont (In French; with, English Titles) Conceding that Harry Baur always manages to appear interesting in his character studies, this sketchy com- edy drama stacks up in the .American market, even for forei^-language houses, as an overly long pto- grammer. It is further handicapped by making audiences in this country depend on English tiUes for an ex- tremely wordy film: Extent «f ver- biage drops ft into the farce class most of its length. Story of philandering wife mar- ried to a'plodding'government em- gloyee whose away-from-home affair ounces back after h,er mate becomes wealthy Is extremely reminiscent of others in a like groove. Difference mainly is that it is given several strictly French twists but the shears seem to-have shortened these spicier episodes. Harry Baur, veteran French cinema character actor, provides a deft portrayal of the humdnrnt worker who rose to wealth and fame by changing the routine ot his whole life. At times it amounts to ti mon- olog^ which is one of the picture's weakness. Opposite in the role ot wife is Suzy Vemoh, who gives only a mediocre Interpretation of a character vital to the table. She is not particularly at- tractive as caught by the camera here, and leaves the audience mar- veling why her husband aspired to do so miMh for Iter. Cbristiane Dor and Josseline Gael, supporting femmes; both appear more fj»sclnnt- ing than the wife. Others in support are considerably below par for a French film. Roger Ferdinand's story is fairly concise^ and appears to have plenty of crisp dialog. Latter, however, is lost for the average -American audi- ence^ Wear.